IT'S A TRAP! Scandinavian Music Journal

Son of a Kid - Clearly now (video)

Tue, 14 Aug 2012 12:04:55 -0700

Son of a Kid, now signed to EMI and available via Spotify.

Susanne Sundfør The silicone veil EMI

Mon, 02 Apr 2012 12:59:06 -0700

"The silicone veil" is a lesson in contradictions -- it's a far warmer record than Susanne Sundfør's previous release "The brothel", but it's also far more electronic and synth-heavy. Likewise, it's more direct and approachable while also somehow remaining far more abstract and densely composed than anything she's done before, both lyrically and musically. The Joni Mitchell comparisons which were apt for her self-titled debut circa 2007 have been completely stripped away and what now remains is a performer that is uniquely her own self, standing alone among erstwhile peers. As always, the focal point remains her voice, and on this album she allows it to boldly soar through obtuse chord changes, rarely opting to take the route most easily travelled. It can be a daunting listen for the casual pop music fan or anyone else hoping for a friendly singalong, but at the same time, those challenges are a crucial part of what makes her so compelling. One never gets the impression that she is over-complicating things for its own sake either, rather the songs always flow effortlessly from one movement to the next and there's never a moment where a single note feels extraneous or out of place. Her compositions are a direct reflection of the complex notions she conveys and I couldn't imagine it coming out any other way. And besides, the moments I struggle to wrap my head around are precisely what keep me coming back for repeated listens -- even when I feel like I can't fully grasp the big picture, the music still affects me deeply at a raw, emotional level. That's how I know Susanne Sundfør is a truly great artist and her new album is a brilliant piece of work. This is the new benchmark.

Kitchie Kitchie Ki Me O s/t EMI

Mon, 14 Nov 2011 13:35:31 -0800

This isn't really my thing; it's an Oslo thing. And it's my first time reviewing a band where I gotta tiptoe and use my indoor voice. Forthright impudence almost seems like it'd offend an entire national consciousness or institution, as revered as they are. But let's not forget- Oslo's music scene is the most comfortable place in the world. No political suffering, no industrial labor strikes, and no real equivalent to the dole. Hence, dozens of well-dressed boys running bars amuck and feeding off cultural-grant breast milk, or the titties of the finest groupies you'll ever see. No matter how disparate your black metal band A is from shoegaze band B to Top 40 act band C, "we're social equals" so hey, let's all hold hands, and let's be sure to do it on TV. Norgs often blur this crucial distinction between "style" and "fashion". It's like the difference between having Hepatitis B or C. Some ailments you can be born with like a genetic inclination. Style is one's raw talent, however bizarre or mutant, possessed and created only by you. Whereas fashion, like Hepatitis C, you can catch from any motherfucker.

The obvious nods by Madrugada cohorts onwards to Blixa Bargeld and Nick Cave fits extremely well into rich, dark and brooding Scandinavian territory, and has had the self-perpetuated effect of mounting them in a tiny, yet hierarchical scene as gods. But if The Bad Seeds have done it already, is the simulacrum just another fashion? The blues noir motif encompasses everything aspired in an artist's life -- glorified isolation, mystery, sexual energy, freedom. I remember my monumental realisation when Nick Cave's "God is in the house" DVD first came out. It was a signal of the times; the inexorable musicianship of this group of MEN turning something deeply of themselves into an awe-inspiring and transcendentalizing performance. The essence of "soul".

Soul is definitely not something you can just copy, it's not like you can hire a bunch of gospel-singers and assume you'll get that effect. My impression of this album is in fact, soul-searching, which is not to say it ain't solid. It's more like wandering and jamming in the key of retro-blues. At times, it does feel so grown-up and sterile I begin imagining folks in V-necked sweaters listening to the album in their living rooms on designer couches, hi-fi stereo systems and tons of high-end drugs.

But by solid, I really mean perfect. You gotta hand it to them, a total self-awareness shines through; they know who's gonna try to get a piece of 'em, so they're armed with deadly ammunition. Pristine production, fantastic percussive elements building gigantic drones, and the excellent saxophone-playing is a goodnight cherry on top. My favourite tracks, "I've been watching you (night and day)" has an infectious boogie, like Ethiopian music from the Sixties, Tilahoun Gèssèssè, Mulatu Astatqé, etc. and "After party killer" has a Bowie-air to it that's epic, classic and hit-worthy. In fact, most of these songs are.

But back to what I was sayin', KKKMEO's not exactly my thing. So why the 9? This is not a revolutionary 9. This is not a 9 for alienated subterraneans. This is a 9 for the masses. As a reviewer I tend to detect the moment in which my pure unadulterated love for music is betrayed. In this case, the flow of the album runs like butter, the tracks are easily digestible and honed to the Nordic ear. After being frustrated by many new albums of late, hearing a record that's so un-objectionable and on a higher level of musical professionalism makes me daresay I'm not allowed to object. So I do as any humble reviewer would. Give it a 9, quietly put it back on the shelf, blast "Transilvanian hunger" and make myself a cup of tea.

Me and My Army Thank god for sending demons EMI

Tue, 19 Apr 2011 11:51:20 -0700

It was hard not to be intrigued by this album after reading that Me and My Army was made up not only of Andreas Kleerup, but members of Timo Räisänen's band. What I heard in my head when I read about Me and My Army was Kleerup making a guest appearance on Räisänen's "My valentine". This is not a good expectation to have going in. After the distinctly '80s-sounding opener, the band channel their inner Grateful Dead on the title track. This is not to disparage either Me and My Army or the Dead, but to emphasize the strange turns this album makes. There is a lot to like about "Thank god for sending demons", but very few of the album's highpoints have anything in common with the other standout moments: "Far, far away", with its fantastic female vocals and electro-pop sensibilities, feels very removed from the tracks surround it; "Chemicals" opens with Eagles-like swagger, tying it to some of the other Neil Young/'70s Americana-influenced tracks on, but distancing it from many of the other compositions. This album, while definitely worth a listen, is such a disparate collection of influences and attitudes that it is difficult to tell where the heart of the band lies. This is definitely a talented collection of musicians, but the album listens more like a soundtrack than a focused creative effort.

Swingfly Awesomeness - An introduction to Swingfly EMI

Tue, 22 Mar 2011 13:03:41 -0700

Seven of the ten tracks on "Awesomeness" (a retooling of Swingfly's 2009 album) have already been released as singles, so the album plays like a greatest hits collection. This is party music through and through -- a fusion of hip-hop, pop and rock. It's all pretty ridiculous, but that's part of the charm of Swingfly's sometimes goofy, always endearing persona. Anybody who uses the boast "hot like a fresh baked bun" is clearly not taking himself too seriously. As expected, the first half is the strongest, barreling out of the gate with four major pop hits, including most recent single "Me and my drum" (of the "fresh baked bun" fame). But the second half is no slouch either, highlighted by a pair of older singles (2006's "Something's got me started" remains deliriously fun and fresh four years on). It's a singular sound, but one that's surprisingly versatile. Things even get pensive on album closer "Let you go", with its spare, atmospheric electronics. Recommended for fans of Robyn and Teddybears (both of which Swingfly has worked with in the past).

Lykke Li Wounded rhymes EMI/LL Recordings

Fri, 04 Mar 2011 11:29:52 -0800

It's hard to cover this record since Mattias Alkberg already wrote the definitive review, but I'll do my best to sum up my thoughts without adding too much extraneous noise to the discussion. Though I wouldn't consider myself much of a Lykke Li fan, her debut album "Youth novels" had a cute, bright-eyed naivety that was undeniably charming and it wasn't hard to see why so many people made a big fuss over it. Now that she's an established artist, she's trying to position herself as a someone who's far more self-aware and serious and, frankly, I'm having a very hard time meeting her on that level. As much as she may feel authentically world-weary, it comes across as a bit of a put-on -- a different kind of youthful naivety that's far less appealing. My biggest problem with the record however, is that it has no sense of fun. A few solid tunes, sure, but more often than not it's a joyless trudge and, as much as that may reflect her mood while writing it, it doesn't compel repeated listens.

The Ark Arkeology EMI

Fri, 25 Feb 2011 16:08:34 -0800

The Ark has never been a band content to write songs. They write anthems, through and through. From their breakout top ten hit, "It takes a fool to remain sane", to newest single, "Breaking up with God", they've graced us with a string of the finest, most bombastic pop/rock of the new millennium. "Arkeology", spanning twenty tracks, spills over with hits. Stacked one after another, it's a staggering ride through 70's glam rock, emotional new-wave and heart-on-sleeves balladry -- always with a sing-along chorus at the forefront. While their albums were consistently top-notch, especially at the band's mid-decade peak, The Ark will always be remembered by their singles. And there are some giants here. The dizzying "Calleth you, cometh I"; the sneering "Father of a son"; the contemplative, rousing "One of us is gonna die young". If you're only familiar with the band from their glitzy 2007 Eurovision entry, "The worrying kind", you may be stunned by what else is on offer. This music will make you feel giddy. The Ark have a knack for taking simple pop ingredients and making them seem impossibly galvanizing. The band wisely curtail entries from their less-than-stellar 2010 album to a pair of singles towards the end of the compilation. Thankfully, "Stay with me" receives a remix, giving it a fuller sound more in keeping with the rest of the tracks. Two new recordings, "Breaking up with God" and "The apocalypse is over", bookend the collection. The former is a punchy pop confection proclaiming frontman Ola Salo's break with organized religion in his usual uplifting fashion. The latter manages to sum up The Ark's career in a triumphant, yet bittersweet swan song. It's a milestone when a band like this decides to call it quits, but I can't think of a better collection of songs -- er... anthems -- to leave as their legacy to the world.

Roxette Charm school EMI

Wed, 16 Feb 2011 11:54:21 -0800

Reunions are a tricky thing, especially if it's been a decade, a health scare and a few middling solo releases in between albums. Roxette will always be one of Sweden's most successful and beloved commercial pop bands; no one can take that away from them. Fans were understandably eager to see them reunite, but once you get past the "oh, it's Per!" and "ooh, it's Marie!" nostalgia trip of the new album's opening tracks, it's a long slog through shadows of former glories (chiefly, "Listen to your heart", repeated ad nauseum in slightly different formats). It all sounds like what I feared it might -- a Per Gessle album. Why, when you're known for your bright, shiny pop songs, record an album of plodding, quasi-rock grasping for credibility that it'll never achieve? To many critics, Roxette will never be "credible, and that's part of the reason we fans like them. I wish they would have embraced their glossy pop side (which pokes through on tracks like "Big black Cadillac" and the should-have-been-better lead single "She's got nothing on (but the radio)"). At least if you're going to repeat yourself, have some fun with it.

Niclas Frisk going solo

Wed, 10 Nov 2010 15:42:56 -0800

Atomic Swing mainman Niclas Frisk has signed with EMI for a solo album called "Deeper down in Chinatown", to be released in early 2011.

Eldkvarn Hunger Hotell EMI

Wed, 10 Dec 2008 00:00:00 -0800

What first comes to mind listening to Eldkvarn's new record "Hunger Hotell" is how their watermark, the lyrics, are still there; how nostalgia still dominates the music. Listening through the album, I soon realize most of Eldkvarn is left, nothing has really changed; they are still playing their blues-ish sound, just like before. They have added some extra edge that that does at times remind of the old Eldkvarn from the 80s; a guitar riff here and there, but the basics are the same. Just like with "Atlantis" and "Svart blogg", Eldkvarn has been cooperating with The Bear Quartet's Jari Haapalainen and the two have again produced a great and exciting album, one of the most energetic and aggressive records Eldkvarn has ever released and quite possibly the best. It's not hard to notice that Eldkvarn continues to be more and more productive over the years and it is very nice to see that after 30 years, they are still on the right track.

Sigur Rós Með suð í eyrum við spilum endalaust EMI

Fri, 04 Jul 2008 00:00:00 -0700

With first single "Gobbledygook" as the presupposed manifesto for the anti-"Heima" -- recorded in NYC, London, and Havana instead of the usual Reykjavík -- it's a bit disappointing to see Jonsi & Co can't avoid their own pitfalls, falling prey at various times to a retread of the idiosyncrasies that made "Agaetis byrjun" and "( )" great. The melodies remain memorable, and "Goðan daginn" with its middle-register acoustic guitar atop a feathered cadence, is a pristine example of "Heima" creative holdover. But their particular brand of four-to-the-floor pulses tiredly through the first half of the album, and the on-paper majesty of "Ára batur"'s full orchestra and boys choir turns out to be little more than bloated "Takk" fare. Their marketability, sadly, climbs ever upward as they half-manage to fit their Aleph of tinkling instruments into these smaller and smaller packages.

I guess after their 2006 tour of Iceland that championed their cultural and musical past, "Með suð..." seemed the perfect vehicle for a massive paradigm shift. My hopes buoyed by that gloriously playful first single, I saw this album marrying the time signature mystique of "Amnesiac" and the ornery appeal of "Sung Tongs" through their distinctive Icelandic style. Instead, all I got was an admittedly beautiful "Takk" remake, marked with the somber organs, plaintive strings, and playful glockenspiels of old.

Kleerup s/t EMI

Wed, 02 Jul 2008 00:00:00 -0700

Pop music can be about a lot more than shifting hundreds of a thousands of records and continuously rotating overly-glitzy music videos, and Andreas Kleerup's self-titled debut is verification of this idea. Holding more in common with The Knife's songwriting approach than that of Max Martin, and reveling in similar production tricks to that of Justice, Kleerup's compositions seem almost "accidentally" radio friendly; too much effort has been put into these tracks for them to be dismissed as pop fluff, and yet too much pop sensibility has gone into their writing for the songs to feel pretentiously avant-garde -- the album's strengths exist somewhere in between these two judgments. While the record is rather star-studded with tracks featuring numerous well-known artists: Robyn, Lykke Li, Neneh Cherry, and Marit Bergman, to name a few, Kleerup's own tracks stand up well on their own. "Thank you for nothing" runs cleverly between Europop-like catchiness and the allure of well-produced remixes of bands like Phoenix, and opener "Hero" is an engaging first look at the album, evoking a strange mix between Vangelis and Röyksopp. "With every heartbeat", the Robyn-featured single, is my favorite track, though the Marit Bergman led "3am" and Lykke Li's "Until we bleed" are not far behind. Overall, "Kleerup" is a skillfully produced pop record that's as much fun as it is expertly written and executed -- a pleasant departure from the soulless gloss of so many other pop albums.

Caesars Strawberry weed Dolores/EMI

Fri, 06 Jun 2008 00:00:00 -0700

When "Strawberry weed" is played in my iPod, the first association that comes to my mind is: Coldplay. This might be outlandish, but it's true. If we throw in some Beach Boys, Beatles and Rolling Stones, then we have a recognizable sound, describing Caesars' new album. I expected to hear something more rebellious and edgy, going more back to their hit "Jerk it out", but didn't. This isn't something you want to scream from the top of your lungs to at festivals, this is something more mature, and something you might want to listen to at a sunny day at the beach. The album consists of 24 songs, it's a double album and frankly, I ain't praising that, even if Ebbot Lundberg deserves admiration, doing a fine job producing this. My 'too much feeling' means that Caesars is that kind of band that can bore you, therefore one good, crammed CD could have been enough. However, in this case, "Strawberry weed", "Fools parade", "You nailed me" and "Boo boo goo goo", does it for me; they are catchy and, should we say, MTV material. But I still wonder why you want to throw in something such as "Solina": a 2:59 long, acoustic song, without César Vidal's easily broken but beautiful voice? It's a small pause in the middle of it all that gives me the feeling of a computer game. To the positive parts, the overall impression is that it makes me darn pleased that the band gives us something new, these dudes knows how to do it despite my words above, and let's face it, Caesars are Caesars and as in a salad, you will always get that little extra parmigiana that gives you a tasty experience and some energetic fuel in the end. "Boo boo goo goo" is a perfect example of that. In the end, after hours of listening somehow this poppy, indie sound gives me almost the same feeling as the beach boys, and it makes me say; Strawberry Field... you nailed me!

Pacific! Reveries EMI

Wed, 02 Apr 2008 00:00:00 -0700

Pacific has already built up quite a fan base on the strength of the singles they've released so far. Fans have come to expect two general styles from the duo. There's the Italo Disco flashback best represented by most recent single "Number one" and, in contrast, the beach-bum chill-out of tracks like "Sunset Blvd". The Göteborg duo shifts between these sounds effortlessly, delivering standouts in both genres on their full length debut "Reveries". Nothing here matches the strength of the previous singles and EP tracks, but those songs make up half of the record, so that's not really a big problem. There are times when the sleepy side of the duo's sound becomes a bit too sleepy ("Sunrise" and "Hold me"), but the album has a certified classic in "Hot lips", already a deserved success. There's a general airy charm to Pacific's music, even as they ratchet up the tempo for the more dance oriented tracks, and this definitely sets them apart from similar-minded synthpop groups. And, while the record as a whole may not be as consistent as the singles would lead you to believe, there is no doubt that "Reveries" will find a home on many a beachgoer's playlist this summer.

Madrugada s/t EMI

Fri, 14 Mar 2008 00:00:00 -0700

Guitarist Robert Burås left this world much too soon. And he will be missed. Those of us that got to see Madrugada live can certify that he was a main character in this otherwise so well put together combo. Being the sixth and final album from Norway's finest, this is nothing but pure genius. The intensity is evident throughout, both musically and vocally. On this self-titled full-length, the band has taken the atmosphere of foreboding that is their trademark to a higher level, which leaves us, the listeners, in a state of darkness that's indefensible. Simply put, we're reeled right in and I wouldn't want anything else. Frontman Sivert Høyem sings with such authority and grace, it makes my eyes fill up with tears. And seeing that I'm into The Birthday Party and Nick Cave, it's difficult not to compare, but Sivert has a hypnotizing way of taking each song to perfection, something Mr. Cave is missing at times. "The hour of the wolf" is a straight-forward rock song with howling guitars, powerful drums and a showcase of one of the shapes that was Madrugada. It's rock'n'roll in its purest form. The more acoustic "Look away Lucifer" is a dark and eerie song that sort of sums up the album as a whole. The uncanny feeling of this swan song is charming in a way that you never want to end. But, all good things must come to an end and I can't think of a better way than this. Kudos. And R.I.P.

BWO Fabricator EMI

Sat, 26 Jan 2008 00:00:00 -0800

Bodies Without Organs are ex-Army Of Lovers man Alexander Bard, Marina Schiptjenko and Martin Rolinski (who shot to fame on Swedish reality television program Popstars). They're pretty big in Sweden and Eastern Europe and this is their third album. I like pop, and even though I was never a fan of Army of Lovers, I was indeed a very big fan of Page (a Swedish synthpop band that Schiptjenko used to be in) when I was younger. As far as cheap Euro dance music goes, I'd say that this is quite well executed, and there are a handful of infectious choruses on "Fabricator" (i.e. "Save my pride"). I won't spend too much time though trying to polish a turd, if you want some great Swedish pop music just go and buy pretty much any ABBA album you don't already own, instead of this tat.

Mando Diao Never seen the light of day EMI

Wed, 28 Nov 2007 00:00:00 -0800

In numerous interviews, I've seen the members of Mando Diao talk about being influenced by, among others, the hip-hop scene of today and that they're getting tired of being compared to acts such as The Kinks, Rolling Stones and The Zombies. Fine, but just 'cause you talk about what you're influenced by doesn't mean that it shows. I don't hear an apparent change from the first two albums or 2006's more diverse "Ode to ochrasy". What I, on the other hand, do hear is the production skills of Björn Olsson giving this album a rough edge while at the same time giving it a more laidback feel. Sounds shattered? Well, yes it is and no it's not. The trademark that is Mando Diao floats all over this record, the snotty melodies of Gustaf Norén and the The Beatles-esque harmonies of Björn Dixgård are here as they should be, but it's Björn Olsson's participation that helps make this album one of the more well-crafted released from this band. The string arrangements and the one-take procedure was, quite frankly, the injection I have been looking for! It's too bad that the songs featured aren't among the bands best though. For the most part, they re just too anonymous with a few exceptions. The single "If I don't live today, then I might be here tomorrow", "Not a perfect day" (George Harrison, anyone?) and "One blood" are all great tunes and, if the band kept that kind of focus, this album would be as good as its previous one.

Per Gessle En händig man EMI

Mon, 12 Nov 2007 00:00:00 -0800

It's a shame that the only artist from my hometown ever becoming really famous is Per Gessle (of Gyllene Tider and Roxette fame, if you're German I'm sure you know who I'm talking about). It's him and maybe Michael Arnott (Spiritual Beggars / Arch Enemy / Carcass). When I was around 6-7 years old, I was a big fan of Per Gessle's music, and listening to his latest album "En händig man", I can sort of see why I dug this guy all those years ago. The lyrics are often pathetic, but there's a nursery rhyme-feel to both them and the music that explains why they would appeal to someone who plays with Tranformers and spends most of his days drawing birds (cuckoos, specifically, not girls as in English slang) in various sci-fi warrior uniforms. It's sort of sad that Per Gessle, who seems like a nice guy that likes some great music, only will be remembered for making pap like this. "En händig man" is a dreadful album, even worse than the best material Gessle's ever written.

My Midnight Creeps Histamin MMC Records/EMI

Thu, 17 May 2007 00:00:00 -0700

My Midnight Creeps are fronted by the dynamic duo of Robert Burås from Madrugada (here going by the name Bobby Cagehill) and Alex Kloster-Jensen from the Ricochets. That's a great deal of guitar power, and they put it to good use on their second record, which is a considerable improvement on their strong debut. They make no pretenses to originality. To the contrary, they offer a familiar take on swampy, bluesy, dark and heavy rock'n'roll. The old blues singers of the Deep South meet the British 60s, wind their way through 1970s Detroit and 1980s LA, and land in Norway, bringing some touches of Scandi guitar psychedelia with them. They swagger through songs about women, having the blues, and being wronged. It's big, it's bombastic, it's meant to be played loud, and it covers no new territory. But it's so very well done. The musicianship is stellar, and the band seems to be having such fun playing that it's hard not to feel good listening. Then there are passages in these songs - mostly instrumental - where they achieve that rare wall of surging atmosphere that transcends everything else and makes you stop whatever you're doing just to revel in it. Big bombastic rock'n'roll fun interspersed with moments of rock'n'roll perfection? Play it loud.

Weeping Willows Fear and love Virgin/EMI

Tue, 27 Mar 2007 00:00:00 -0700

The name says it all: this band, and CD, is a weeper. Even the most jubliant songs carry with them a sort of bittersweet sadness that one can't shake off, but it's not melancholic. Maybe it's because of the mellow vocals or the subdued production. I love how Magnus Carlson enuniciates each of the lyrics, each word a lullaby set free and sent out to the world. The rest of the band is just background, I'm sorry to say. It's great music to wander around downtown to, shunning all other forms of human life except for Carlson's voice.

Pernilla Andersson Baby blue EMI

Fri, 16 Mar 2007 00:00:00 -0700

I don't know much about Pernilla Andersson, except that she seems packaged for mass consumption, with lots of glossy photos and fancy production. And indeed, she's got an easily accessible adult radio sound that even my old dad would appreciate. A shot of soul, a jigger of jazz, a healthy pouring of pop makes for one smooth cocktail. Think KT Tunstall. But with an unexpected nod to Depeche Mode and – brace yourself – Social Distortion. Yup, there's a barely recognizable cover of "Angel's wings", complete with harmonica, and a surprisingly dark "Enjoy the silence". Is she trying to be quirky? Or to steal Robbie Williams' title for most requested funeral anthem? Perhaps. But, as much as I hate to admit it, I kinda like it. Especially opening track "Red", and single "Scary ordinary". File under 'guilty pleasures', and enjoy the occasional big swig.

Sondre Lerche Phantom punch EMI

Tue, 06 Feb 2007 00:00:00 -0800

"Phantom punch" finds Sondre Lerche again not only giving his backing band The Faces Down title credit, but delivering some of his most uptempo material to date. This is where the album succeeds - finely tuned pop gems such as the stellar "Say it all" and "John, let me go" are two of the best tracks I've heard from Mr. Lerche; whilst the stylised punk of "Face the blood" initially came off as a bit of a shocker at such a high-tempo, it fits perfectly in the scheme of the album. While steeped heavily in pop, it's good to see an artist bring in other elements. Coupled with the loose-feeling arrangments, the band is allowed to convey their music at a level that was missing on the more polished "Duper sessions".

Sivert Høyem and the Volunteers Exiles Hektor Grammafone/EMI

Wed, 17 Jan 2007 00:00:00 -0800

Madrugada frontman Sivert Høyem closes this second solo album by singing: "I must take to the stage/I need nerves of steel/no matter how weak and how weightless I feel/I just wanted to come across strong." It's an ironic and telling line on an album written just after the biggest year of Madrugada's career. While the songs all deal with vulnerability to varying degrees - estranged narrators desperate for human contact, numbed to that contact, or savoring intimate moments of closeness - the sound betrays no hint of weakness and is anything but weightless. To the contrary, it's heavy, strong, and once you accept its borderline-corny sense of drama, downright beautiful. Høyem is gifted with what's likely the best voice in contemporary rock, and every note on here is sung deliberately and milked for maximum nuance. Fans expecting a repeat of his first solo record "Ladies and gentlemen of the opposition" will find this about as similar to that as Madrugada's "The deep end" was to "Grit" - it sounds very little like its predecessor. Where his first mixed folk with rock and blues for an eclectic set of songs, this is one consistent slow dark march in a minor key. You've got to be in the mood, but when you are, it's breathtaking. Let's hope it sees wider distribution than its current Norway-only release.

Melody Club Scream EMI

Fri, 08 Dec 2006 00:00:00 -0800

I've never liked Melody Club and their cheap and nasty synth-driven melodic pop, but their latest (and third) album is much better than I thought it'd be. Saying that, my expectations for it were lower than you can imagine. I've always thought of them to be quite pathetic, but they've become much less so now, which is really in their favour. The hit single of the album "Destiny calling" sounds like something by The Sounds and I can easily picture the song soundtracking a video featuring fast open top cars (after writing this I checked out the video on YouTube and was very disappointed, they've managed to make a very non-anthemic video for an über anthemic song), and I wouldn't be surprised if the Roxette fans of Germany and America will love this. If they'll keep on progressing like this, come their 27th album, and I might just buy it for my niece.

Mando Diao Ode to ochrasy EMI

Wed, 29 Nov 2006 00:00:00 -0800

On this, their third full-length, the cocky youngsters have grown up. And bear with me here, that's not necessarily a bad thing. Mando Diao still put out dirty rock n' roll with great hooks from the 60's, something they've been doing since the "Motown blood EP". The difference between "Ode to ochrasy" and the previous ones is that this one contains songs. Songs that proves a maturity required in the music scene of today. The record kickstarts with the killer "Welcome home, Luc Robitaille" and you can actually feel their ambition to make it a Classic. And I'm the first to admit that I have been wrong when doubting in these guys. Up until now. 'Cause really, every song featured is a damn fine song. From the mellow, soulful "Josephine", to the euphoric "Song for Aberdeen", through to "TV and me", the single that's a fairly big radio hit in Sweden as we speak. I imagine that the decision of having Calle Olsson (Union Carbide Productions, The Soundtrack Of Our Lives) producing was a healthy thing to do. But - and there is a but - the only thing I object against is that, while the production is a craftmanship as good as any, it's not as in-your-face as I want this type of rock n' roll to be. But that's a secondary comment. The primary thing is that Mando Diao have made a record that, if there's any justice in the world, should be remembered for a long time. Time will tell.

Envelopes Demon Brille/EMI

Tue, 11 Apr 2006 00:00:00 -0700

With a promiscuous and skew approach, Envelopes hit me right in the gut. If you mixed Talking Heads with early Bob Hund, this is what it would sound like. But the more you listen, the more you discover. With an intact lo-fi sound, these guys attack with catchy melodies and a flawless recording that, to me, can be seen as a reaction on how the record industry sounds today. Cause really, if this record was released 20 years ago, it would be so up-to-date. If you're into the Sarah Records back-catalogue, Pixies and even Laakso, don't miss this record. And do check out the brilliant single "Sister in love" and the recently released single not featured on this record, "Free jazz"! Smart and joyful indiepop that deserves a wider audience. I know I'm hooked!

Anja Garbarek Briefly shaking EMI

Sun, 04 Dec 2005 00:00:00 -0800

As an unabashed fan of Norwegian singer/songwriter Anja Garbarek, I was stunned to hear the news that she'd completed a new album. Anja is not the most prolific lass in the Nordic universe: "Briefly shaking" is only her fourth disc in 13 years, and the first since 2001's superb "Smiling and waving". But lordy, this gal makes the wait worthwhile by consistently releasing stunning records. Music that's both ecstatically passionate and wonderfully weird always wins me over, and Anja is a sorceress in that regard. The eleven tracks here range from Broadway-style theatricality to elegant pop classicism to moments of sublime sensuality, especially when Anja just melts you with one of those beautiful melodies she has such a flair for. If fans of sublime modern pop can't find you after this classic record, then they're sure as hell not looking in the right place.

The Coloursound Revolution When everybody is out, is everybody in Noiz/EMI

Mon, 16 May 2005 00:00:00 -0700

Imagine Mark Lanegan with a band that is slightly depressed, wonderfully melancholic and subtly rock more than Screaming Trees. Sounds like later day QotSA? Well, yes, but different. Coloursound Revolution are very similar to QotSA but remain themselves somehow and this album is certainly a lot better than "Lullabies to paralyze".

Loopy Smile back home EMI/Zip Records

Fri, 01 Apr 2005 00:00:00 -0800

Loopy is destined for the in-flight music program on Scandinavian Airlines. The Copenhagen-based group represents all of SAS's constituents: it features a Danish bassist and guitarist, a Swedish drummer and a Norwegian singer/guitarist. More importantly, the band has created a noteworthy debut album that blends UK-style guitar pop (think Snow Patrol) with some surprises. The melancholy title track meanders most of the way, before drummer Mathias Elovsson speeds up the tempo considerably and brings the song to a crashing halt. The top-notch "Never loud" is oh-so-minor key, showcasing soulful vocals from Leiv Aasen. A few songs get needlessly repetitive (like "Morning Star"), but the spacy "Silent Song" (which sounds a bit like Slowdive) makes up for it. The blend of shoegazer and pop on such well-constructed songs makes Loopy a band I'll have my eye on.

Håkan Hellström En midsommarnattsdröm CDS EMI

Tue, 15 Feb 2005 00:00:00 -0800

Håkan Hellström's career is quite intriguing, from playing bass in indie combo Broder Daniel he has, after two solo albums, become one of Sweden's biggest and most popular artists. Hellström has somehow managed to become a major artist (and a proper household name) without alienating most of his original indie audience, which is quite a feat. It comes as no surprise then that this new single from his forthcoming album "Ett kolikbarns bekännelser" (which roughly translates as "Confessions from a colic child"), is the most anticipated single this year in Sweden. The single did of course race directly into the number one spot in the singles chart. My expectations for this song was probably way too high, and I should have realized that my hopes would inevitable be crushed no matter what. But even though there's some nice flute playing by Dungen (who's to my bewilderment has received a lot of hype in the States in the past months) the song is unfortunately not as fantastic as Hellström's previous singles/songs.

Thomas Dybdahl One day you'll dance for me, New York City EMI

Tue, 08 Feb 2005 00:00:00 -0800

This is 24 year old Norwegian Dybdahl's third long player. Taking hints from Ed Harcourt and Bright Eyes, the palette from which he paints from is both fragile and weary. "It's always been you" is a heartfelt weepie that features whispered breathy vocals and a gorgeous piano refrain, all drenched in subtle strings. Title track "One day you'll dance for me, New York City" has an underlying country feel to it with a gently picked banjo, whilst Dybdahl's lyrics are concerned with typical outsiderdom. The young Norwegian doesn't anything new or different on this record, he's just a great songwriter.

Thomas Dybdahl A love story CDS EMI

Sun, 17 Oct 2004 00:00:00 -0700

Thomas Dybdahl is a 24 years old singer/songwriter from Norway who looks like a pretentious hipster on his websites. His work can placed within the same category of music that has utterly swamped the Nordic countries the last few years (nowadays, for every Kristofer Åström you get twenty lousy impersonators). These facts alone (combined with the title of the actual song that this review is about) inflamed the prejudices buried deep within me to such a degree that if I hadn't taken a deep breath, sat down, and listened to the song, this review would have been nothing but a deep sigh full of cynic remarks. Now instead it'll read like this: This first single of Thomas Dybdahl's forthcoming album is a lush and gentle affair, with nothing subversive about it, that lulls along nice and quietly. Yes, it's singer/songwriter stuff in the usual way, but it's stuff done in a much better fashion than what I'm used to hear.

Mando Diao Hurricane bar Majesty/EMI

Sun, 17 Oct 2004 00:00:00 -0700

Considering the reputation these guys have for being total assholes, my initial impulse is to rip them apart completely. However, as tempting as that may sound, I'm going to try and stick to the moral high road and tell it like it is. Look - while Mando Diao is obviously nowhere near as good as they think they are, they really aren't all that bad either. "Hurricane bar" is simply a straight-up sophomore slump in just about every way. They've ditched most of the soul and garage-rock trend-chasing and delivered an album that's totally safe and unremarkable, not to mention about 15 minutes too long and desperately lacking in energy. It's pleasant and inoffensive enough that I wouldn't switch the channel if it came on the radio, but at the same time, it's definitely not worth spending money on.

Weeping Willows Presence Virgin/EMI

Sun, 22 Feb 2004 00:00:00 -0800

Just like people, bands change. It took me a long time to accept the new Weeping Willows sound debuted on their last album "Into the light". Once I got over the shock of change, I discovered a great pop album. Being said, this new albums continues very much in the same almost 80s-pop/rock style, but I think I still need to let it grow on me. There's three or four songs (including the single "Stairs") that are immediately appealing, but I'm undecided on the rest. Good, not great.